In illustrated, news, Review

Original caricature by Jeff York of Ralph Fiennes in CONCLAVE (copyright 2024).

Anytime anyone tells a story about the hidden workings of the Catholic Church, you know it’s probably not going to be a flattering picture of the church. The new film CONCLAVE, based on the 2016 bestseller by Robert Harris is no exception, but for those who might want to dismiss it outright without even seeing it, I would suggest that they give the film a chance. The fictional story about the secret conclave behind the Vatican walls to elect a new pope is clever, taut, well-acted, and directed, plus, it is quite moving. Of course, it has its pulpy moments and it’s a wonder any of the cardinals in the story have room for their robes with closets so full of skeletons. Still, the film rather sneakily errs on the side of both religion and God, even if it drags the church through some mud to get there.

Ralph Fiennes stars as the Cardinal-Dean Thomas Lawrence, sort of a union president in his way, charged with organizing the papal conclave for the voting and all of the issues that will come up during such an important week. He’s ultimately the final word on the menu, seat assignments, transportation, room accommodations, and even in refereeing some of the in-fighting that will occur in the ‘dorm hallways’ after hours. At one point, he discovers that the Pope thought of him more as a manager than a shepherd, but that is precisely what is needed for such a large gathering of cardinals. Lawrence is keen, kind, and yet steely in carrying out the business of the church. And he knows how to get things done.

So does director Edward Berger, fresh off his Oscar victory for Best International Feature ALL QUIET ON THE WESTERN FRONT two years ago. CONCLAVE is also a war film of sorts with factions fighting for ground, and Berger brings his clear-eyed, yet compassionate understanding of the soldiers in the fight to the table here as well. And while those battling may wear fancy frocks and rosary beads, their willingness to commit many sins in the name of securing the Papal ring is more than a little frightening, but fun in its way too. They may be of the cloth but they are still fallible men.

On the liberal side of the power struggle, the side that Lawrence favors, stands the American Cardinal Aldo Bellini (Stanley Tucci), a drolly humorous progressive who wants the Church to continue striding into modernity. On the conservative side is Cardinal Goffredo Tedesco (Sergio Castellitto) from Italy, a brusque man who thinks most that can be categorized as contemporary is mostly bad. Then there is Canadian Cardinal Joseph Tremblay (John Lithgow) and Nigerian Cardinal Joshua Adeyemi (Lucian Msamati); they’re somewhere in the middle and each has some dark secrets that will be revealed soon at the conclave. And on the sidelines stands Isabella Rossellini as Sister Agnes, the Vatican’s head caterer/housekeeper, patiently watching and waiting with her stern face and knowing eyes, to weigh in on the battle.

Pretty pulpy, for sure. But in Peter Straughan’s screenplay adaptation, none of the drama feels overwritten and the dialogue never lapses into cheesiness. If anything, all of the scandalous revelations and childish in-fighting get played at a distinctively low boil. If anything, the noisiest editorializing comes from the tense, ominous score by Volker Bertelmann. He ensures that every moment feels quite dangerous. And it often is.

Ultimately, the film struck me as mostly uplifting, showcasing these vaulted men as deeply flawed and vulnerable with each other and before God. All of the actors respect their given roles, with Tucch and Rosellini standing out in support. Fiennes does some of his finest screen work as the harried Lawrence, letting his furrowed brow, soulful eyes, and uncertain mouth say so much about his inner turmoil. Fiennes also gets to spout a good speech or two as well, gently scolding his fellow men of the cloth on their humility and the importance of God’s grace.

Some will say that a film like this dresses up a sow’s ear and turns it into a silk purse, but such criticisms seem to miss the sly point of this affecting film. Men are not God, it argues and when they try to be, that may be their truest sins. Being mindful and dutiful is much closer to godliness and that is why a manager was needed to shepherd these men.

That struck me as a wholly uplifting message. (Maybe even a holy one as well.)

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